One of the worst movies I've ever seen

I like Black Panther, but I didn't like this movie.

Expected more

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

A familiar story of a cop (Victor Mature) and a criminal (Richard Conte) who grew up in the same tough New York City neighborhood, in the same culture, but chose different paths in life, and end up facing off against each other. Mature's part as the detective could almost put him in the role of the bad cop out to bring down the neighborhood hero, though the story, with some excellent lines for Mature, leads us to the truth, that Conte was playing the part of a fairly ruthless con man, especially with the people closest to him. The essential conflict between the two primary roles gives the film a strong focus, but other characters elevate the movie to unexpected heights. Betty Garde, Barry Kroeger and Hope Emerson each have great parts in this film. Garde's part looks like it's going to be brief, but she reappears later in the film and adds another dimension to the story. The story is already hitting its stride when Hope Emerson makes a memorable appearance as a deadly masseuse who takes Conte into her parlor/apartment. Their lines are some of the best in the movie. Lloyd Ahern, the cinematographer captures the essence of a crime drama in the great night scenes.

Cry of the City (1948) *** 1/2 (out of 4) Excellent crime/drama about kids who grow up together but as adults find each other on opposite sides of the law. Victor Mature plays the cop, Richard Conte the criminal Martin Rome, who is in jail for killing a cop but is able to escape and go looking for the girl who might have helped him in a jewel heist. Mature must try to track him down but also make sure that the low-life doesn't become a folk hero to people on the streets including his younger brother. This film borrows the plot from ANGELS WITH DIRTY FACES but then takes the story into it's own direction and in the end this is a classic drama with a lot going for it. This is the type of movie that slowly keeps getting better and better all the way up to the terrific ending that I certainly won't reveal here. The movie has some terrific style, great performances and some wonderful atmosphere and all of this wrapped up makes for one of the better entries in the genre. I'm a little surprised that this film hasn't gotten a better reputation over the years. Sure, it seems most reviews are positive but it seems the film has been forgotten by many or not given enough credit by others. I think what makes the film work so well is that it really does come off very realistic and doesn't seem to be trying to be cool or too stylish. The movie doesn't feature the cops beating the heck out of people, smoking cigarettes with flashy dames or acting tough for no reason. I think the Mature character comes off as one of the most real persons from this genre because he's not shown as a hero or played as one but instead he's just a man doing his job. Mature gives a wonderful performance in the role and is very believable as the cop. Conte is also extremely good in his role and the two men share some terrific scenes together including the ending in a church as well as an earlier scene in the hospital. The supporting cast includes a great performance by Fred Clark and Shelley Winters in an early role. Hope Emerson plays an incredibly tough female who wants the jewels and she steals the film in each scene that she's in. She's certainly the highlight of the film and the subway sequence is full of great suspense. Siodmak does a terrific job with the material as he milks all the suspense he can out of each scene but he also lets the screenplay do its job of bringing the characters to life and making them seem real and not just something out of a bad crime movie.

This is film-noir at its best. In fact, this is the way they used to make great films.Victor Mature, as the cop, and Richard Conte, the criminal, star in this terrific film.The film shows that despite an excellent upbringing by a Conservative Italian Catholic family, Conte chose a life of crime and he is about to be joined by his kid brother who idolizes him.When Conte breaks out of jail, the fun really begins with everyone in hot pursuit for him.The picture is aided by a fine supporting cast. Hope Emerson, who was Oscar nominated in 1951 for "Caged," shows her mettle here as a hard-boiled tough lady involved in a jewel heist. This must have been Shelley Winters' first film and she makes the most out of it as one of the many Conte girls who drives him around. Debra Paget, who is only 15 years of age here, plays a sweet, innocent thing involved with Conte. She is the love of his life. Bette Garde, so memorable as Wanda Skutnik in "Call Northside 777" plays a nurse who shields Paget. We have Fred Clark as a fellow cop in a pretty serious role for him.What makes this film so good is that it shows how innocent, decent people could be drawn into Conte's web. The bullets may fly in this film but they're well on target.

Few films defined as "film noir" are as bleak and unrelenting as "Cry of the City" It features Rcihard Conte as a unrepentant underworld figure who escapes from a prison hospital ward to protect a woman who was in on a jewel caper with him. Everywhere he turns there are old enemies and potential set-ups but he manges to avoid both the cops and criminals that are after him until the final big scene.Released at the peak of the noir cycle this film will appeal to any that find that style to be their favorite. More mainstream viewers will wonder the hu-bub is about as the lines of dialog can appear heavy handed as if lifted from Broadway play and force fed the actors. All the thesps are great including Victor mature as a no nonsense cop from the same neighborhood that spawned our anti-hero. Only in one scene does Conte's rough veneer seem to crack: When confronted by Mature about his past even the heartless gangster can't seem to convince himself that he is anything but a user and a taker. It is a powerful scene that fits in well with so many New york exterior shots. The benefits of the film also rest in the picture's accumulation of small detail that outweighs any of the staginess inherent in the screenplay.